Following my desire to construct something for the interim show I created this altarpiece. The idea was to play with the relationship between image & material (the church and painting) moving a traditional medieval style altarpiece into something that brought the paint into the iconography.
In a way I wanted the Madonna to become a icon of the church and that style of painting while the child has become a material icon. The subtlety of this transition still leaves an intensely religious and recognizable image, yet, there is something untoward happening.
The dissolution of the traditional early renaissance aesthetic is visible towards the sides of the central panel where the figures are collapsing/dissolving into abstraction and the whim of paint. This leads out to the 4 outer panels which are purely abstract and indulge in the gesture and character of paint, removing the typical iconography found in these panels such as the Crucifixion and annunciation.
The function of this contemporary altarpiece in the context of their availability in galleries and museums is as a redevelopment of previous work. It plays with the images of religion we already hold in our minds. While society has become much more secular leaving the whole idea of an altarpiece seemingly redundant paint has in some ways gained more significance over time, the value of the religious icon may be lost but the material has survived and can become an icon itself.